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Concerto for Woodwind Quintet & Wind Ensemble. David Gillingham. B-Flat Trumpet sheet music. Bassoon sheet music. Horn sheet music. Grade 5.

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Koncerts koka pūšamo instrumentu kvintets. David Gillingham. B-Flat Trumpet notis. Fagots notis. Horn notis. 5 pakāpes.

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Concerto for Woodwind Quintet & Wind Ensemble. Woodwind Quintet Feature. Composed by David Gillingham. For Soloist. with Concert Band. Piccolo, Flute 1. 2, Oboe 1. 2, Bassoon 1. 2, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Contrabassoon, Alto Saxophone 1. 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1. 2, Trumpet in Bb 3. 4, Horn in F 1. 2, Horn in F 3. 4, Tro. Grade 5. Score and parts. Duration 11. 30. Published by C. Alan Publications. CN.04700. With the 'Brandenburg Concerto No. 2 in F Major' by J.S. Bach serving as a model for the inspiration, spirit and vitality of this work, Gillinghman has created a work in the concerto grosso style but with a modern flair. Not for the feint of heart, this work requires an aggressive woodwind quintet as well as a peak performing ensemble. The "Concerto for Woodwind Quintet" and Wind Ensemble began as a commission in 1983 but never materialized and was never performed. Its premiere performance was in February of 1995 by the Central Michigan University Symphonic Wind Ensemble under the direction of John Williamson. The Powers Quintet of Central Michigan University was the soloing quintet. It was my intention to create a work in the concerto grosso style which flourished in the Baroque period within the confines of materials and techniques of the present century. The 'Brandenburg Concerto No. 2 in F Major' by J.S. Bach served as a model for the inspiration, spirit and vitality of this work. All three movements involve the interplay of the concertino group. the woodwind quintet. and the ripieno. the full ensemble with the quintet. Therefore, the woodwind quintet plays a dual role in the work as a soloing ensemble and as a part of the larger ensemble. The first movement is the most sophisticated of the three with a primary motive consisting of running sixteenth notes alternating between duple and triple groupings. A rather pompous motive with dramatic leaps emerges about midway through the movement in the horns. Following is considerable development of the primary motive between alternations of the ripieno and concertino. Then there is a literal repetition of the opening material followed by a Coda that dramatically restates the secondary motive. Like the 'Brandenburg No. 2,' the second movement is dominated by the concertino group and abounds in lyrical splendor. An ascending octave followed by a descending seventh characterizes the motivic material of this movement. The motive is imitated within the woodwind quintet forming lush harmonies in the first part of the movement and becoming more poignant and dissonant as the movement progresses. The winds and percussion serve only as a backdrop to this movement with long sustained chords and pandiatonic clusters in the winds and soft articulations by bells and crotales. A dominant augmented ninth chord with an underlying timpani roll leads to the third movement. The third movement is marked 'Presto' and is intended to be lighthearted and extremely upbeat in spirit. The primary motive alternates between 3. 4 and 7. 8 meter and features the interval of the fourth within a diatonic structure. The motive is varied and passed back and forth between the concertino and ripieno. There is a secondary motive, first heard in the solo horn, that is reminiscent of the dramatic secondary motive of the first movement. Unlike the latter, this motive never plays out in its entirety and merely teases the listener. Following a literal repetition of the opening of the movement, a rousing coda closes the work.

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Koncerts koka pūšamo instrumentu kvintets. Woodwind Quintet Feature. Sastāv David Gillingham. Solistu. ar Concert Band. Piccolo, flauta 1. 2, oboja 1. 2, Fagots 1. 2, Klarnete BB 1, klarnetei BB 2, klarnetei BB 3, Bass klarnetei, Contrabassoon, alta saksofonam 1. 2, Tenor Saxophone, Baritons saksofons, trompete in Bb 1. 2, trompete in Bb 3. 4, Horn F 1. 2, Horn F 3. 4, Tro. 5 pakāpes. Rezultāts un to daļas. Ilgums 11. 30. Publicējusi C. Alan publikāciju. CN.04700. Ar "Brandenburgas Concerto Nr.2 F Major" JS Bach kalpo kā paraugs, lai iedvesma, gara un vitalitāti šo darbu, Gillinghman ir radījis darbu concerto grosso stilā, bet ar mūsdienu nojauta. Nevis izlikšanās sirds, šis darbs prasa agresīvu koka pūšamo instrumentu kvintets, kā arī maksimālā funkcionālāku ansamblis. "Koncerts koka pūšamo instrumentu kvintets" un Wind Ensemble sāka kā komisijas 1983, bet nekad nav notikuši, un nekad netika veikta. Tās pirmizrāde sniegums bija februārī 1995 Centrālās Mičiganas universitātes pūtēju Wind Ensemble vadībā John Williamson. Pilnvaras Quintet Centrālās Mičiganas universitātē bija soloing kvintets. Tas bija mans nodoms radīt darbu Concerto grosso stilu, kas uzplauka baroka perioda robežās materiālus un metodes šajā gadsimtā. "Brandenburgas Concerto Nē 2 in F dur", JS Bahs kalpoja par paraugu iedvesmu, gara un vitalitāti šo darbu. Visas trīs kustības ietver mijiedarbību ar Concertino grupas. koka pūšamo instrumentu kvintets. un ripieno. pilnīgu ansamblis ar kvintetam. Tāpēc, koka pūšamo instrumentu kvintets ir divējāda loma darbā kā solo ansamblī un kā daļu no lielāka ansambļa. Pirmā kustība ir vismodernākie no trim ar galveno motīvu, kas sastāv no darba sešpadsmitā piezīmes pārmaiņus dubults un trīsvietīgas grupējumu. Nevis pompozs motīvs ar dramatiskiem lēcieniem parādās apmēram pusceļā caur kustību ragiem. Tālāk ir ievērojama attīstība galvenais motīvs starp alternations ar ripieno un Concertino. Tad ir burtisks atkārtojums atvēršanas materiāla seko Coda, kas ievērojami atkārtoti sekundāro motīvu. Tāpat kā "Brandenburgas Nr.2," otrais kustība dominē Concertino grupā un abounds lirisko krāšņumu. Augošā oktāvas seko dilstošā septītā raksturo motivic materiālu šajā kustībā. Motīvs tiek imitēta laikā koka pūšamo instrumentu kvintets veido sulīgs harmonijas pirmajā daļā kustību un kļūst kodīgs un disonants kā kustība gaitā. Vējiem un sitaminstrumentiem kalpo tikai kā fons, lai šīs kustības ar ilgtermiņa stabilu akordus un pandiatonic kopām vējiem un mīksto locītavu ar zvani un crotales. Dominējošā papildināta Devītais akords ar pamata timpāni roll noved pie trešo kustību. Trešais kustība ir atzīmēta "Presto", un ir paredzēts drastisks un ļoti optimistisks garā. Galvenais motīvs pārmaiņus 3. 4 un 7. 8 metru un funkcijas intervālu ceturtā ietvaros diatoniska struktūrā. Motīvs ir daudzveidīgs un pagājis uz priekšu un atpakaļ starp Concertino un ripieno. Pastāv sekundārā motīvs, pirmo reizi dzirdēju no solo raga, kas atgādina par dramatisko sekundāro motīvs pirmās kustības. Atšķirībā no tā, šis motīvs nekad spēlē, kopumā un tikai teases klausītājs. Pēc burtisku atkārtošanu atvēršanas kustības, iedvesmojošs CODA aizver darbu.